Steimatsky Noa (55 results)

Paperback. Condition: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Condition: New. Brand New.

paperback. Condition: Good. Our good condition books are generally good for reading but not for gifting or collecting. They could have imperfections such as creasing, fanning, inscriptions, margin notes, yellowing, staining on edge or cover or pages, bumps, scuffs, etc etc (sometimes multiple of these). It's a wide category that encompasses anything that isn't almost-new down to anything that is slightly better than poor. We would NOT recommend gifting Good books - these should be considered reading copies. Our books are dispatched from a Yorkshire former cotton mill. We list via barcode/ISBN so please note that the images are stock images and may not be the exact copy you receive, furthermore the details about edition and year might not be accurate as many publishers reuse the same ISBN for multiple editions and as we simply scan a barcode or enter an ISBN we do not check the validity of the edition data when listing. If you're looking for an exact edition please don't order (at least not without checking with us first, although we don't always have time to check). We aim to dispatch prompty, the service used will depend on order value and book size. We can ship to most countries, see our shipping policies. Payment is via Abe only.…

PAP. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Paperback or Softback. Condition: New. Italian Locations: Reinhabiting the Past in Postwar Cinema. Book.

Condition: New. Num Pages: 264 pages, 63 b&w photos. BIC Classification: APFA. Category: (G) General (US: Trade). Dimension: 216 x 137 x 13. Weight in Grams: 304. . 2008. Paperback. . . . .

Condition: New. In English.

Paperback / softback. Condition: New. New copy - Usually dispatched within 4 working days.

Condition: New. Num Pages: 264 pages, 63 b&w photos. BIC Classification: APFA. Category: (G) General (US: Trade). Dimension: 216 x 137 x 13. Weight in Grams: 304. . 2008. Paperback. . . . . Books ship from the US and Ireland.

Paperback. Condition: Brand New. reprint edition. 246 pages. 8.25x5.10x0.50 inches. In Stock.

Condition: New. Brand New.

Soft cover. Condition: Fine. viii, 279pp, b/w and colour illus., index of names and titles. Excellent tight clean copy. BHS 11/25.

Condition: New.

Condition: As New. Unread book in perfect condition.

Condition: New.

Paperback. Condition: new. Paperback. The human face was said to be rediscovered with the advent of motion pictures, in which it is often viewed as expressive locus, as figure, and even as essence of the cinema. But how has the modern, technological, mass-circulating art revealed the face in ways that are also distinct from any other medium? How has it altered our perception of this quintessential incarnation of the person? The archaic powers of masks and icons, the fashioning of theindividual in the humanist portrait, the modernist anxieties of fragmentation and de-figuration--these are among the cultural precedents informing our experience in the movie theatre. Yet the moving image also offersradical new confrontations with the face: Dreyer's Passion of Joan of Arc, Donen's Funny Face, Hitchcock's The Wrong Man, Bresson's enigmatic Au hasard Balthazar, Antonioni's Screen Test, Warhol's filmic portraits of celebrity and anonymity are among the key works explored in this book. In different ways these intense encounters manifest a desire for transparency and plenitude, but--especially in post-classical cinema--they also betray a profoundambiguity that haunts the human countenance as it wavers between image and language, between what we see and what we know. The spectacular impact of the cinematic face is uncannily bound up with an opacity, a reticence. But is it not for this veryreason that, like faces in the world, it still enthralls us? The human face is a privileged arena of expressivity; yet, this book suggests, cinema's most radical encounters with the face give rise to ambiguity, illegibility-an equivocation between image and language. Braiding theoretical and aesthetic considerations with close analysis of films, Steimatsky interrogates the convergence of archaic powers and modern anxieties in our experience of the face on film. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Condition: New. In.

Condition: As New. Unread book in perfect condition.

Condition: New.

Condition: New.

Paperback / softback. Condition: New. New copy - Usually dispatched within 4 working days.

Paperback. Condition: New. The human face was said to have been rediscovered with the advent of motion pictures, in which it was often viewed as expressive locus, as figure, and even as essence of the cinema. But how has this modern, technological, mass-circulating medium revealed the face in ways that are also distinct from any other? How has it altered our perception of this quintessential incarnation of the person? The archaic powers of masks and icons, the fashioning of the individual in the humanist portrait, the modernist anxieties of fragmentation and de-figuration--these are among the cultural precedents informing our experience in the movie theatre. Yet the moving, time-based image also offers radical new confrontations with the face: Dreyer's Passion of Joan of Arc, Donen's Funny Face, Hitchcock's The Wrong Man, Bresson's Au hazard, Balthazar, Antonioni's Screen Test, Warhol's filmic portraits of celebrity and anonymity. Such intense encounters, examined in this book, manifest a desire for transparency and plenitude, but--especially in post-classical cinema--also betray a profound ambiguity that haunts the human countenance, confronting interiority as opacity, treading the gap between image and language. The spectacular impact of the cinematic face is uncannily intertwined with a reticence, an ineffability; but is it not for this very reason that--like faces in the world--it still enthralls us.…

Condition: As New. Unread book in perfect condition.

Condition: As New. Unread book in perfect condition.

Paperback. Condition: Brand New. 1st edition. 296 pages. 10.00x7.00x0.50 inches. In Stock.

Condition: New.

Paperback. Condition: New. The human face was said to have been rediscovered with the advent of motion pictures, in which it was often viewed as expressive locus, as figure, and even as essence of the cinema. But how has this modern, technological, mass-circulating medium revealed the face in ways that are also distinct from any other? How has it altered our perception of this quintessential incarnation of the person? The archaic powers of masks and icons, the fashioning of the individual in the humanist portrait, the modernist anxieties of fragmentation and de-figuration--these are among the cultural precedents informing our experience in the movie theatre. Yet the moving, time-based image also offers radical new confrontations with the face: Dreyer's Passion of Joan of Arc, Donen's Funny Face, Hitchcock's The Wrong Man, Bresson's Au hazard, Balthazar, Antonioni's Screen Test, Warhol's filmic portraits of celebrity and anonymity. Such intense encounters, examined in this book, manifest a desire for transparency and plenitude, but--especially in post-classical cinema--also betray a profound ambiguity that haunts the human countenance, confronting interiority as opacity, treading the gap between image and language. The spectacular impact of the cinematic face is uncannily intertwined with a reticence, an ineffability; but is it not for this very reason that--like faces in the world--it still enthralls us.…

Condition: New.

Condition: As New. Unread book in perfect condition.

Condition: New. In.